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The Apartheid Museum opened in 2001 and is acknowledged as the pre-eminent museum in the world dealing with 20 th century South Africa , at the heart of which is the apartheid story.

In 1995 the South African government set up a process for the granting of casino licenses, establishing an agency to do this called the Gambling Board. The bid documents stipulated that bidders should demonstrate how they would attract tourism and thereby grow the economy and stimulate job creation.

A consortium, called Akani Egoli, put in a bid that included the commitment to building a museum. Their bid was successful, the Gold Reef City casino was built and an adjacent piece of land given for the construction of a museum.

After a few hours at the Apartheid Museum you will feel that you were in the townships in the '70s and '80s, dodging police bullets or teargas canisters, or marching and toyi-toyiing with thousands of school children, or carrying the body of a comrade into a nearby house.

This extraordinarily powerful museum, certain to become one of Johannesburg's most important tourist attractions, has become an obligatory stop for tourists and residents alike.

The Museum, with its large blown-up photographs, metal cages and numerous monitors recording continuous replays of apartheid scenes set in a double volume ceiling, concrete and red brick walls and grey concrete floor, is next to the Gold Reef City Casino, five kilometres south of the city centre

The museum's director, Christopher Till, says: "It is appropriate that the first apartheid museum in South Africa should open in Johannesburg, where at the turn of the century there was a convergence of people for a range of different reasons.

"Black people were displaced from the land through colonial wars and the imposition of poll taxes, and white farmers were displaced through the Anglo Boer War," says Till.

The museum came about as part of a casino bid seven years ago. Bidders were obliged to include a social responsibility project, and the winning consortium indicated that they would build a museum.

"R80-million was committed to the building of the museum by the consortium," says Till. "The consortium is committed to the running costs of the museum for a further two years, by which time they would have spent around R100-million on the project."

The Museum occupies approximately 6 000 square metres on a seven-hectare site which consists of natural recreated veld and indigenous bush habitat containing a lake and paths, alongside its stark but stunning building.

"The synergy between the natural element and the building finish of plaster, concrete, red brick, rusted and galvanised steel, creates a harmonious relationship between the structure and the environment," says chairman of the Museum board, John Kani.

Capturing that moment of reconciliation: Nelson Mandela, wearing the Number 6 jersey, hands over the William Web Ellis trophy to Springbok captain Francois Pienaar. South Africa had just won the 1995 Rugby World Cup - and much more: finally, it seemed, the country had come together as one.

A multi-discipliniary team of curators, filmmakers, historians, museologists and designers has been assembled to develop the exhibition narrative which sets out by means of blown-up photographs, artefacts, newspaper clippings, and film footage, to graphically animate the apartheid story.

Tickets for the Museum are plastic credit-card size cards indicating either "Non-white" or "White", and with one in your hand, you know you have begun a harrowing journey.

As you swing through the turnstile on your historical journey from the early peoples of South Africa to the birth of democracy in the country, cages greet you, and inside the cages are blown-up copies of early identity cards, identity books and the hated passbooks and racially tagged identity cards.

The rest of the Museum is just as graphic:

At times you feel overwhelmed by the screens and the sound and the powerful images they are projecting. The Museum leads you through room after room in a zigzag of shapes, some with tall roofs, some dark and gloomy, some looking through to other images behind bars or cages that make it clear that apartheid was evil.

And just when you feel you can't tolerate the bombardment of your senses any longer, you reach a quiet space, with a glass case which contains a book of the post-apartheid Constitution, and pebbles on the floor.

You can express your solidarity with the victims of apartheid by placing your own pebble on a pile. You'll then walk out into a grassland with paths which take you to a small lake - you'll need this reflective time.

There is also a recording studio in which visitors can leave their experiences under apartheid, if they had any, for others to hear.

"It is not only important to tell the apartheid story, but it is also important to show the world how we have overcome apartheid. There certainly is a lesson for other countries, and this will be related through the complexity and sheer power of the installations," explains Till.

The displays in the Museum are ongoing and incomplete - the history of the Truth and Reconciliation Commission is still to be displayed; personal stories will continually be included; the role of Helen Suzman in South Africa's history is to be expanded.

"The overriding message is to show local and international visitors the perilous results of racial prejudice and how this, in the case of South Africa, nearly destroyed the country and in so doing destroyed people's lives and caused enormous suffering," says Kani.

An architectural consortium consisting of five leading architectural teams was assembled to design the museum. "The building is a triumph of design, space and landscape fused into creating a building of international significance," says Kani.

Till agrees. "The building itself has power, which is what is needed to put across the powerful message the Museum has to offer. It is the most important public building to be built in the last 20 years."

Till says the response so far to the Museum has been "enormously encouraging. One of the people involved in the Holocaust Museum in Washington has seen our Museum, and responded by saying we have achieved something special here".